RogerEbert.com by Glenn Kenny

This is one of the most satisfying films, genre or otherwise, of the year.

The Playlist by Andrew Crump

Saloum is tense and, when it kicks into high gear, scary as hell.

Los Angeles Times by Noel Murray

Herbulot and Diop have made a movie that is bold and exciting, combining bits of reality with outsized myth, in a tale of crime, revenge, and literal monsters, set in a wonderland where it seems anything can happen.

The Guardian by Phuong Le

Saloum does not stop at simply reinterpreting the tropes of the western but wholly retools its influences with local flavours.

Film Threat by Alex Saveliev

By turns horrific and hilarious, touching and repulsive, it showcases West Africa as an emerging force in contemporary cinema.

Variety by Richard Kuipers

Revenge is a dish served with considerable style and imagination in Saloum, a fast and furious crime-horror-thriller that twists and turns its way around the mangroves, islets and inlets of Senegal’s Sine-Saloum coastal region.

Slant Magazine by Jake Cole

With expert visual precision, the film flows into each new, wild narrative wrinkle as if it were the most logical thing in the world.

The Film Stage by Jared Mobarak

One mystery is solved so another can begin without missing a beat as revenge takes on new meaning in the aftermath of its completion.

Paste Magazine by Matt Donato

There’s something of an it-factor that Saloum possesses, though it doesn’t have the steadiest handling of entertaining distractions that relieve major plotlines along the way. Still, the way of the gun wins out for Herbulot, putting Senegalese horror hybrids on the map.

The New York Times by Jeannette Catsoulis

Punctuated by Gregory Corandi’s gliding, God’s-eye shots of meringue-colored desert and placid shoreline, Saloum has the extravagance of fable and folklore. The plot is ludicrously jam-packed, but the pace is fleet and the dialogue has wit and a carefree bounce.